Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Somalia and from Toronto.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Jakarta.
I'm losing my edge to the art-school Mexico City kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Gong to the disco kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by ABBA. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Bush Tetras,
It's A Beautiful Day,
Warren Ellis,
Interpol,
Pantytec,
the Soft Cell,
The Pop Group,
Mo-Dettes,
Rapeman,
Andrew Ashong & Theo Parrish,
Connie Case,
Wire,
Electric Light Orchestra,
Davy DMX,
Wasted Youth,
The J.B.'s,
Make Up,
The Red Krayola,
Archie Shepp,
Mad Mike,
Sixth Finger,
Rotary Connection,
One Last Wish,
Gil Scott-Heron & Brian Jackson,
Los Fastidios,
The Angels of Light,
Peter & Gordon,
Oppenheimer Analysis,
Anakelly,
Aloha Tigers,
Albert Ayler,
Eve St. Jones,
Ajijia Myrayebe,
Kings Of Tomorrow,
Selector Dub Narcotic,
Goldenarms,
Glenn Branca,
Teenage Jesus and the Jerks,
Delta 5,
Das Ding,
The Royal Family And The Poor,
the Fania All-Stars,
Absolute Body Control,
Pussy Galore,
The Birthday Party,
John Coltrane,
The Cowsills,
Rhythm & Sound,
Vainqueur,
Manfred Mann's Earth Band,
Sly & The Family Stone,
Fugazi,
Junior Murvin,
Moss Icon,
Graham Central Station,
Fad Gadget,
Smog,
Sun Ra Arkestra,
Aaron Thompson,
EPMD,
Bang on a Can All-Stars,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.